«Thesis presented to the Faculty of Arts of the University of Zurich for the degree of Doctor of Philosophy by Mark Staff Brandl of USA and ...»
Chapter Three applies my theory to my own oeuvre; Chapter Four imagines the potential utility of the theory of metaphor(m) as a tool for understanding and creating visual art in general; Chapter Five offers a creative interpretation and use of my theory; Chapter Six employs the theory to analyze a single painting by one artist and a series of works by another;
Chapter Seven probes the agonistic aspect of the theory of central trope and offers a new tropaic base for it; Chapter Eight evaluates conceptions of the extended text and new media in light of my theory; Chapter Nine draws on the theory of metaphor(m) to consider an assortment of models of art history and propose a new one; the Introduction initiates the dissertation; the Conclusion brings my theoretical journey to a close. Hence, I examined metaphor(m): the theory of central trope, from diverse standpoints, and through various levels of magnification.
Metaphor(m) is proposed as a general theory of trope in the arts. If this or any other hypothetical analysis of art is worthy of any serious consideration, it is in its usefulness for fuller understanding and criticism of the works before us: as creators, as perceivers and as creative perceivers. Interpretation should seek the transformative through two important questions. What does the act of interacting with this work allow me to discover in life? How does this change and improve experience, i.e. "reality"? Metaphor(m), the theory of central trope, is a theoretical and critical approach emphasizing allusiveness and playfulness within concrete perception, linking striven-for content, discovered form, antithetical historical and critical cultural awareness.
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